WHO IS PHADREAS?

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Days...Months...Years have passed and yet, Phadreas has remained in the background. Phadreas has eluded me for years despite my attempts to find him and bring clarity to my wanderings. I’m not sure why he has emerged at this moment as an enigma that must be confronted. Yet, there he is, with his gleaming eyes and mysterious smile that bewilders and confronts me. It is not because he is amused, but rather that he understands what I seek, even though he won’t reveal anything to me directly. 

Phadreas is the shadow of my thinking, and my thinking is the essence of my Being, my sense of All and the essence of Allness, which we often call Eternity. Eternity is the contradiction of Time ending. Time and Being, as Heidegger so eloquently observed, are the essence of existence, the fundamental pulse that dismisses the void and utter disintegration.

Phaedrus often lurks around the entrance to my DOJO. As written in Wikipedia, a DoJo is a place for immersive and experiential learning. In Japanese, it literally means PLACE OF THE WAY. A few years ago I tripped out on Neil Diamond's THE WAY, where the musical structure continually shifts its grounding, it is a musical journey seeking closure but ends in an echoing rift of ongoingness. (Wyzard Ways: BEING ON TIME)

My journey deepens as I retrace the steps of a student of Zen In The Art of Archery. How important our process of Being is linked to Breathing... even to inspire is to take in... inspiration comes from our effortless breathing...appropiating the outside and bringing it into the center of ourselves, and holding it as it nourishes all life processes, then exhaling to return a transformed energy to our environment. Breathing and Being are central to our existence. The student working with the Zen Mastery is from a different culture. Coming from Germany to Japan, he brought a certain Western resistance to the Japanese ethos of Zen. His journey is about reconciling his cultural clash with a different and equally valid reality. It is not unlike F.S.C. Northrop's The Meeting of East and West, that reveals how the war with Japan was inevitable as a clash of cultural values, and how this meeting of two opposing cultures transformed our ideas about Art and Existence.

Later Robert M. Pirsig would build upon this cultural dichotomy with his epic Zen in the Art of Motorcycle Maintenance. Years ago, I took this journey with Pirsig, and now, decades later, I renew this quest for a deeper understanding of my own journey. But I do not journey alone. This time the quest is with an artist searching a different artistic itinerary, and yet as we work within mutual boundaries of awareness, we may discover new destinations, new clearings in the dense forests of doubt.

It seems that life itself is the journey, and from the beginnings of our utterings on Earth, since antiquity, Homer's The Odyssey defined our quest to return home, for we awaken in a wilderness and know not whom we are. 

In the end, isn't our quest about Identity?

A NEW ODYSSEY...

How long have I been away? It's difficult to calculate. My last entry was not a return. That was an experiment with a digital magazine. 

 

I have been lost in some corridor without dimension, trying to find my way back to the conscious awareness that has always connected me to myself. These last few months...few days...I have somehow stumbled back...Phaedrus is alive, but perhaps it is still too tenuous, too embryonic, to know what is really going on. 

 

Phaedrus is still shrouded by the shadows...I pause in the deep shadows of the ether that obscures identity and launches a search... a wandering away from the bright avenues of deceit and destruction, looking for some opening through which I might return, from where I might escape into the fullness of myself...into the awareness of Being...where clarity reigns. But I know there is no such moment as clarity. Clarity requires Time to become timeless, where process stagnates into shrill stillness... we slip into the silence and its illusion as a tapestry of sound. 

 

I have been wandering. I've wandered since my earliest days in Texas...and the globe has been a gracious host. I heard Whitman calling me to join him in his wanderings, and I began to journey with him by my side and in my veins, beckoning me to find a clearing where we might rest and exchange notes. I should have perished long ago, but something lingers...not from the Past,  but from the Future... for wandering is an endless excursion into what might be and what might have been. And these wanderings have led to some phenonmenal experiments in Research as Lived Experience...in Heideggerian jousting with BEING AND TIME and the languaging of the world...in Hegel's even more dazzling Phenomenology of Spirit, as a quest for knowing and meaning which in some ways seems almost like a Western Civilization attempt to read between the lines of the Tao Te Ching.

 

I follow the footsteps of Whitman's wandering in search of his lingering presence...in search of our lingering presence, for we are all wanderers seeking the truth of ourselves. We are all embarked upon The Way... ultimately this is our journey as the infinite manifestation of Being.

 

I remember as I entered my 70s, I was surprised to still be around, somehow stuck in the ever enduring Now. My wanderings were over a vast internal terrain where I thought I was meant to discover or meet someone or some revelation about my true identity. Moving through life, I was constantly meeting and celebrating new arrivals in my conscious awareness that expanded my experience and created new horizons to pursue. I was surprised to find myself still seeking the next realm of revelation as decades passed.

 

SEGUE
 Begun six decades past...
 I always thought it might not last.
 But this is not the final word
 Many conversations still not heard...
 Somehow I’m still seeking text
 To reveal what might happen next.
 For me, text is not about the past...
 it’s more about making the present last.
 Noticing the moment with a pen
 Adds permanence and creates a “when”.
 
 But these words are more than just a start...
 The texting here is from the heart.
 This volume, was begun so long ago,
 When I was young—-so much I didn’t know.
 Now I know no matter what my age,
 Infinity expects another page.

 

So these postings, these wanderings, begin another phase of this adventure, but more importantly to notice the NOW of BEING and the process of BECOMING. These themes have emerged from my encounters with the dynamics of awareness. It seems that everything emerging is Forever unfolding the Nowness of Now. We've launched the James Webb Space Telescope a million miles into space to peer backward into Time... to some so-called beginning which is as much conjecture as it is a reality. It is challenging to be trapped in the permanence of Now seeking paths to the past and future...

 

DAFU LAI AND THE LEGACY OF THE OCARINA SOCIETY

Professor Dafu Lai (NYU Steinhardt Alumni, Class of 2006, MA in Music Ed.) sends us some notes from Beijing on how he joins his students on-line to continue his teachings on creating beautiful music playing the ocarina.

Dafu Lai was the first student in our department in NYU Steinhardt from Mainland China. I believe it was in 2004 when we first met and spoke how music technology could be a powerful factor for music education in China. He spoke of his university, Xiamin University, that had the most beautiful campus in the world. I thought to myself, maybe we all think our Alma Mater has the best of everything. But several years later, his teacher, Dean Xianbo Zhou, invited me to teach a summer class, and I discovered that it was indeed, the most beautiful campus I had ever scene. I immediately wanted to become a film director and have Xiamen University serve as my set.

Although technology has continued to be an important asset for Professor Lai, perhaps his greatest contribution to our field  of music education was to revive the ocarina as a legitimate, serious musical instrument, which also provides a entry to learning music as a life-long process. With great imagination and perseverance, Professor Dafu Lai continues to promote this ancient Chinese Instrument,  restoring its legacy of 5000 years as an instrument of epic proportions throughout its long history. Returning to China in 2006, after his graduation from Music and Performing Arts Professions at New York University, he founded the Ocarina Society of China, which now has more than 5000 members.Professor Lai began teaching at Petroleum University, bringing music to thousands of students using this simple and revered instrument.

Ocarina Society of China

The Society has promoted concerts and alliances through international music education initiatives such as ISME and KODALY.  Some students have gone into the business of making Ocarinas, and many imaginative designs and sizes have emerged. Serving as the President of the Ocarina Society has been a rigorous and demanding responsibility, but Professor Lai notes that the activities of the society contributed to rise of popularity of the Ocarina and produced many virtuoso performers who perform throughout the world. Professor Lai founded an Ocarina Museum that is the home of many valuable Ocarinas centuries and milennia old. My visit to the museum was a highlight of my visit to Beijing as I learned that the instrument comes in many sizes and shapes as I toured the museum's stunning display.

 In the face of the COV-19 Virus lockdown, Professor Lai has maintained contact with his students through the Internet.

Professor Dafu Lai teaching on-line in his studio at Petroleum University, Beijing

Dafu Lai is a professor of music of China University of Petroleum in Beijing. He also teaches Orff Method and ocarina flute at the other universities: China Conservatory of Music, China University of Politic Science & Law. Due to the outbreaking of COVID-19 and most students and teachers were required to stay at home, Professor Lai has been teaching online courses since February 2020. In order to make the students seeing and hearing his instruction clearly, Dafu invested significant funds to equip many facilities such as new desktop computer with two monitors, video camera, microphone, fill lights, etc. Better equipment better insures an online teaching effect.

According to Lai: Online teaching platform is also very important either for teacher or students. Due to the unpredictable epidemic situation, almost 20 million students had to learn online courses at the same time at the first few week days of the Spring semester. Dafu had to use four different online platforms such as Tencent Class, Rain Classroom, WeChat for Business, Douyin, Chaoxing and Zoom for his live broadcast class in order to avoid the congestion. Professor Lai observes:

Fortunately, most students feel that they got much more from my online teaching than in the classroom on campus. First, the students could see the teacher’s demonstration clearly and closely with the video camera, especially for ocarina playing. Second, the students can go over the teacher’s instruction with the video playback function. Third, the students can practice their ocarina playing without disturbing the rest classmates after the teacher’s demonstration. Last, I could give specific comments for the student’s homework with the “Drop of video” function in QQ platform. I can view my students’ homework on the cellphone anytime.

The virus may block the students’ way to the school, but it could never block the teacher’s instruction and the connection to the students. We wish the outbreaking of COVID-19 could under control and to be eliminated eventually all over the world as soon as possible. We are all looking forward to seeing each other again on campus. 

Dr. SANDRO DERNINI: THE IMPORTANCE OF BEING PLEXUS

My adventure with Sandro began decades ago, when I encountered him as the doctoral student of my colleague Dr. David Ecker. Sandro came to NYU already in possession of a PhD in Biology, but he was engaged in the art of life, and all forces conspired in the 70s-90s as to make NYU the place where new interactive artists gathered to enshrine proactive art as the shaping energy of artists around the world. Sandro Dernini articulated a destiny that seemed to have its own efficacy. This personal covenant matched perfectly with David Ecker's commitment to phenomenology and qualitative research. It was David Ecker, who in the 1990s launched Navigating Global Cultures. It was in that context and energy of Sandro Dernini founding Plexus that a series of events unfolded which brought Sandro and myself back together in recent times. I created a video I DO NOT KNOW and submitted art to participate in Plexus celebration at the MACRO Museum of Modern Art on December 12, 2018.

Sandro writes of our initial collaborations and the necessity of charting a new course in the wake of COV-19 Pandemic:Within the collaboration on  Navigating Global Cultures between New York University and University of Cagliari,  in 1995, for the 100th Anniversary of the Guglielmo Marconi's discovery of the Radio, Plexus International was launched.
THE OPEN CALL FOR THE WELL BEING IN THE XXI CENTURY (21 September 1995, Cagliari, Sardinia, Italy)

WE ARE A SINGLE, INTERDEPENDENT, WORLD-WIDE SPECIE.

WHETHER WE LIKE IT OR NOT, WE ARE INTIMATELY BOUND UP WITH EACH OTHER AROUND EARTH.EAST AND WEST, NORTH AND SOUTH, OUR FATE IS LINKED TOGETHER.THUS A GLOBAL VIEW OF HUMAN HEALTH IS MORE ESSENTIAL NOW THEN EVEN BEFORE.”(Introductory statement by the Chairman of the 37th Assembly of the World Health Organization, on the Role of Universities for the Health for All, Geneva, 15 May 1984)

HEALTH is defined by the WHO (World Health Organization of the United Nations) as “a state of complete physical, mental and social well-being and not merely the absence of disease or infirmity.”

In the light of the current Covid-19 crisis, more then even, there is a need for a change of route, from the disease to the well-being by not only thinking to manage this pandemic or the next ones  with vaccines but with a more complete state of well-being, as stated in the WHO definition of health.  Therefore, a more multidimensional cultural navigation  is needed for changing the current dominant paradigm of health as presence or absence of diseases or infirmity.  Let's collaborate all together for a new Well-Being World, to be launched  on Human Rights Day 2020, 10 December, with a global artists.

Extract From David Ecker's paper “Cultural Navigations”presented at the International Forum “The Well Being in the XXIst Century, held in Carloforte, Sardinia, Italy, in 1992.

The idea of a kind of “cultural navigation” arose out of this initial discussion, the notion that what was required of us was to re-think the significance of Columbus’s landing in the light of a new global awareness of interdependence.  Further meetings generated a veritable “fleet” of proposals.  One of these proposals, made by Dr. Sandro Dernini of Plexus International, is now reaching fruition, a Reconciliation Forum to address the question of what will constitute well-being in the 21st Century for all the inhabitants of the globe.   For many of us, the initial idea of cultural navigation led quickly to the question of cultural identity.  

The nutritional, social, ethical and economic aspects of well-being will undoubtedly receive critical attention in the proceedings of the Forum.  But surely the artistic and aesthetic dimensions of life as we live it must figure in any formulation of a comprehensive vision of well-being. 

The arts make visible our cultural identity and provide a direct measure of the vitality of the culture in which a particular art object or event is embedded.  It follows that the arts have a special role to play in relation to the well-being of the members of each of the cultures of the world.

For one organization represented here, ISALTA, it is not enough to document the arts in their cultural settings, but to take steps to enhance the arts and thus the quality of the lives people live.  The name of this intentional group states its purpose:  The International Society for the Advancement of Living Traditions in Art.  Historically,  artistic decline accompanies the loss of cultural identity.  The felt need to preserve the meaning of a tradition in modern life is directly proportional to the loss of spiritual and material well-being of the artists and artisans sustaining their own cultures. Western solutions to the world’s misery, suffering, and destruction have tended in the 20th Century to be technological and humanistic, whereas earlier they tended to be religious or political solutions.  In the name of science, human nature, or God, the assumption underlying these solutions is that they transcend culture and have universal efficacy.  In contrast, we believe that the very meaning of “doing good for others” is culture-bound, as is the word “art”.

Cultural crises, whether caused by natural or man-made, whether caused by forces from outside or within a particular culture, are ideally to be resolved on the terms set by the affected culture.  What this ideal suggests is that there should be no “privileged discourse” in multicultural exchanges.  Communication on both “inside” and “outside” understandings of issues affecting well-being in the 21st Century must be encouraged from all cultural perspectives.  

PLEXUS, as founded by Sandro has sustained many incarnations through world-wide initiatives. Perhaps one of the most recent undertakings was the world wide celebration of Human Rights Day, December 12, 2018.  With Plexus, Sandro with many colleagues, and especially David Ecker, established many living traditions and challenged past cultural inequities and crimes against humanity.

 MACRO is the equivalent of the Museum of Modern Art in New York, but maybe slightly higher rating for being more on the leading edge of arts movements and trends. It is an impressive structure that invites large scale installations, and PLEXUS represented a large scale installation of multiple artists as well as a connection with other sides via the Internet and projected as part of the happenings at MACRO. Human Right's Day as celebrated by PLEXUS was a collage of sight, sound, touch, and technology that unfolded in the spirit of a happening as those in attendance were treated to an abundance of simultaneous activities throughout the museum. Maestro Riccardo Santoboni with his magical trombone, often provided musical commentary as well as leading spontaneous parades through the space. Bodies entrapped in mummy-like encasings wandered through the space until they spontaneously erupted in breaking free of the shackles through dancing and celebrations as they moved from confinement to freedom.

Participating Artists in PLEXUS Human Rights Day at MACRO.

This celebration at MACRO was an extraordinary happening, not unlike those of earlier days when spontaneous eruptions of collaborating artists created unique events throughout New York City in unexpected places such as abandoned buildings, warehouses, theaters, and the Projects. This group photo is on the outside steps of MACRO around 9 p.m. as HUMAN RIGHTS DAY wound down to a close, having begun as a celebration 12 hours earlier, but even a day before December 12, as they installed their works throughout the museum. An almost infinite continuum or trail of artworks submitted to be archived by PLEXUS could be seen throughout the space, followed as a path through the other installations. To document, I made a video of my tracing the path through the museum, but as I walked came upon showings or happenings that were taking place by the many collaborating artists. In many ways, this visitors that came to witness the event became a part of the installation, so that in fact, everyone became a work of art as they shared this extraordinary moment in time. In this sense, everyone was a collaborator, an instigator and reveler in this spontaneous interaction of shimmering facets of activity.

This is why I felt compelled to not let this celebration go unnoticed. It seems more than coincidence that as I left IMPACT and started to chart a new course for my post NYU career, that independently I came up with ARC (ARTS RENAISSANCE COLLABORATIVE), as a new path to pursue and research all I learned in collaboration with faculty, staff, participants, and students during my time at New York University. How stunning a revelation to see the flag raised by PLEXUS as the ARK of WELL-BEING. How well this Ark serves the dedication to the ideas launched in the 90s for NAVIGATING GLOBAL CULTURES. My own sense of ARC, also saw the metaphor of a vessell, but in addition the sense that ARC represents connection, a span to the future and well-being, but also as energy, that spark that ignites a revolution of BEING and MEANING. In these troubling times, Sandro Dernini's quest to maintain PLEXUS as Arts Advocacy for Human Rights and Well-Being has kept the organization at the forefront of relevant metaphysical and spiritual inquiry.